Toward a model of distributed affectivity for cinematic ethics: ethical experience, trauma, and history

Research output: Contribution to journalArticlepeer-review

Abstract

Many contemporary applications of theories of affect to cinematic ethical experience focus on its consequences for empathy and moral allegiance. Such approaches have made advances in bridging phenomenological and cognitivist approaches to film-philosophy, but miss the importance of complex affects that problematize empathy and moral judgment. For example, the rendering of trauma in Aimless Bullet (Hyun-mok Yu, 1961) involves aesthetic shifts that reframe its depiction of postwar experience and build a complex emotional picture of sociopolitical conditions that affect individual and community life. In this article, I argue that to understand the ethical significance of complex cinematic emotion we can develop an account of how affective-aesthetic affordances establish distributed spaces for dynamic affective engagement. To do this, I draw upon theories of scaffolded mind, classical Indian rasa aesthetics, and phenomenological aesthetics. This hybrid account will allow us to articulate the ways that film can help us comprehend the ethical significance of complex affective situations.
Original languageEnglish
Pages (from-to)80-107
Number of pages28
JournalProjections : the journal for movies and mind
Volume13
Issue number2
DOIs
Publication statusPublished - Jun 2019

Keywords

  • Abhinavagupta
  • affect
  • cinematic ethics
  • distributed cognition
  • rasa aesthetics
  • Maurice Merleau-Ponty
  • Aimless Bullet

Fingerprint Dive into the research topics of 'Toward a model of distributed affectivity for cinematic ethics: ethical experience, trauma, and history'. Together they form a unique fingerprint.

Cite this